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• CMEA Magazine • CMEA Goes Digital!! • CASMEC • CASMEC 2020 • Section • Section Updates • Elections • Elections 2020 • Award • Award Winners

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CMEA State Council CMEA EXECUTIVE BOARD CMEA President John Burn jburn@calmusiced.com 408 522-2541 CMEA President-Elect Armalyn De La O adelao@calmusiced.com 909 838-3716 CMEA Vice President Anne Fennell afennell@calmusiced.com CMEA Secretary Sandra Lewis slewis@calmusiced.com 408 806-5550 CMEA Immediate Past President Scott Hedgecock shedgecock@calmusiced.com 714 626-3984 CMEA OFFICE cmea@calmusiced.com 2417 North 11th Avenue Hanford, CA 93230 559 587-2632 CMEA Executive Administrator Trish Adams cmea@calmusiced.com 559 904-2002 CMEA Administrative Assistant Heather Adams hadams@calmusiced.com 559 410-2425 CMEA Legislative Advocate Martha Zaragoza Diaz lobbyist1.mzd@gmail.com SECTION PRESIDENTS CMEA Bay Section President Bruce C. Lengacher blengacher@auhsdschools.org

CMEA Northern Section President Todd Filpula tflpula@chicousd.org

CMEA Advocacy Representative Russ Sperling sperlingruss@gmail.com

CMEA Rural Schools Representative Judi Scharnberg judimusic@gmail.com

CMEA Southeastern Section President Ryan Duckworth Ryan_Duckworth@cjusd.net 909 856-5777

CMEA Collegiate Council Chairperson Leah Musker lmusker@sdsu.edu

CMEA Special Learners Representative Angela Holmes Holmesangie@yahoo.com

CMEA Collegiate Representative Dr. Dennis Siebenaler dsiebenaler@fullerton.edu 657 278-3510

CMEA State Band and Orchestra Festival Coordinator Jim Kollias jhkollias@gmail.com

CMEA Creating and Composition Representative Dr. Lisa A.Crawford lisacrawfordmusic@gmail.com 310 863-6422

CMEA State Choral Festival Coordinator Gail Bowers grbowers@sbcglobal.net

CMEA Southern Border Section President Jeff Malecki jmalecki@sandiego.edu CMEA Southwestern Section President Jessica Husselstein jessicahusselstein@gmail.com NAfME OFFICERS NAfME President Kathleen Sanz 1806 Robert Fulton Drive Reston, VA 22091 800 336-3768 NAfME Western Division President Sam Tsugawa sundevilsam@gmail.com COUNCIL OF REPRESENTATIVES CMEA CAJ Representative Barbara Shinaver barbshinaver@gmail.com 559 451-4320 CMEA CASMEC Coordinator/CMEA Representative on the CBDA Board Joseph Cargill cargill.joseph@gmail.com 559 474-3064 CMEA CBDA Representative Phil Vallejo philvallejo@gmail.com CMEA/CCDA Representative Dr. Rob Istad robert.istad@gmail.com 562 822-5952

CMEA Capitol Section President Taylor Sabado taylor.haugland@gmail.com

CMEA/CCDA Choral Leadership Academy Coordinator John Sorber johnso@cos.edu

CMEA Central Section President Steve McKeithen smckeithen@csufresno.edu

CMEA CODA Representative Matthew Mulvaney mulvaneymatthew@gmail.com

CMEA Central Coast Section President Maria Carney mcarney@mpusd.net

CMEA Advocacy Day Performance Coordinator Jeremiah Jacks jeromejacks30@gmail.com 530 417-7021

CMEA North Coast Section President Holly MacDonell hollymacdonell@gmail.com 707 499-1399

CMEA Public Relations Coordinator Mario Sebastian mariohsebastian11@gmail.com

CMEA CTA Liaison James Benanti jamesbenanti77@gmail.com CMEA Elementary Representative Coralie Prince coralie.prince@gmail.com CMEA General Music Representative Emma Joleen emmajoleen@gmail.com CMEA Innovations Representative Danielle Collins danielle@pulsepercussion.org 909 214-8527 CMEA Membership Chairperson Ryan Clippinger Ryan_Clippinger@kernhigh.org 661 854-5561 x70701 CMEA Mentorship Program Chairperson Mark Nicholson mnicholson@sandi.net 858 256-2702 CMEA Music Supervisors Representative Michael Stone meuph@att.net 661 319-8218 CMEA Music Technology Representative Chad Zullinger chad.zullinger@gmail.com 925 817-7757 CMEA Higher Education and Research Representative Dr. Ruth Brittin rbrittin@pacific.edu 209 946-2408 CMEA Retired Members Representative James Mazzaferro jmazz1@surewest.net 916 690-1992

CMEA State Solo and Ensemble Festival Coordinator Cheryl Yee Glass cglass@srvhs.org 925 552-3044 CMEA Tri-M Representative Troy Trimble troyatrimble@gmail.com 714 626-3975 CMEA Urban Schools Representative Zack Pitt-Smith zackpittsmith@gmail.com CMEA World Music Representative Dr. Lily Chen-Hafteck lhafteck@ucla.edu 310 825-4668

The News Magazine of the California Music Educators Association POSTMASTER CMEA Magazine (ISSN 1099–6710) is published quarterly (Fall, Winter, Spring, Summer) by CMEA. Mailing Address: 2417 N 11th Ave Hanford, CA 93230 Subscription price of $4.00 is included in the CMEA annual dues. Non-member subscription rate is $12.00 per year Single copies are $3.00 POSTMASTER: Send address changes to CMEA Magazine, 2417 N 11th Ave, Hanford, CA 93230 CMEA Magazine Graphic Designer Adam Wilke Editors Anne Fennell and Trish Adams Business Manager Trish Adams Mailing Address: 2417 N 11th Ave, Hanford, CA 93230 E-mail: cmea@calmusiced.com Rates and advertising information available at: www.calmusiced.com The Executive Board of CMEA serves as the Editorial Committee. The observations and opinions expressed in any article in this magazine are those of the author and do not necessarily represent the official position of the Association. CMEA does not necessarily endorse any product or service advertised in this magazine. CMEA Administrative Office Mailing Address: 2417 North 11th Avenue Hanford, CA 93230 Office: 559 587–2632 Cell: 559 904–2002 E-mail: cmea@calmusiced.com Website: www.calmusiced.com

# CONTENTS 3 President’s Message

by John Burn, CMEA President


New Year, New Membership!


Stand Up 4 Music Call for Ensembles


CASMEC Featured Performance Ensembles


CASMEC Clinics


Getting to Know Our California State University Chico Collegiate NAfME Chapter

by Ryan Clippinger, CMEA Membership Chairperson by Jeremiah Jacks, Coordinator

by Anne Fennell, CMEA Vice President

13 Bay Section Update

by Bruce Lengacher, President, CMEA Bay Section

13 North Coast Section Update

by Holly MacDonell, CMEA North Coast Section President

14 Southwestern Section Update

by Jessica Husselstein, CMEA Southwestern Section President

14 Southeastern Section Update

by Ryan Duckworth, CMEA Southeastern Section President

15 Southern Border Section Update

by Jeffrey Malecki, CMEA Southern Border Section President

16 Enriching Students’ Musical Experiences through World Music Pedagogy: A Conversation with Professor Patrician Shehan Campbell by Dr. Lily Chen-Haftek, CMEA World Music and Cultures Rep

20 Rural Schools Report

by Judi Sharnberg, CMEA Rural School Representative

22 What’s Worked For Me to Get Students to Actively Listen to Music by Richard Lloyd Giddens Jr.

25 NAfME and CMEA 2020 Elections 34 CMEA Award Winners 36 CMEA State Solo and Ensemble Festival

Ad Index IBC 19 15 BC IFC 4 24 21 24 12 11 2

CASMEC California Music Education Foundation Casting a Wider Net EPN Travel Music in the Parks NAMM Foundation Nick Rail Music University of Colorado, Boulder University of Portland Washington State University Willamette University Yamaha Orchestrate Success in Your Career... JOIN CMEA+. Visit www.nafme.org. CMEA is a federated state association of the National Association for Music Education.

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Going Digital, Making Your Voice Count, and We’ll See You in Fresno by John Burn, CMEA President

Never let a crisis go to waste!


dedicated music educators contributing articles, Vice President/Magazine Editor Anne Fennell, Executive Administrator Trish Adams and our new CMEA Magazine Graphic Designer, Dr. Adam Wilke!

his past Fall, the day before our articles were due for the Fall CMEA Magazine, after decades of stalwart work for CMEA, Allen Petrinka resigned from his position as CMEA Vote! Magazine Art Director/Business Manager. On behalf of the CMEA Board, myself, and all of us that have 2020 is an election year. Yes, this November benefited from the CMEA Magazine for the past there will be a national presidential election, however many years, I express sincere gratitude and best wishes I am actually referring to this February when we will to Allen in his future endeavors. elect a new CMEA board as well as new NAfME and When this occurred, I am very proud and Western Division leadership. In addition to electing thankful for how the CMEA Board got to work to: state and national music education leadership, we are first, ensure that the Fall CMEA Magazine got out also voting on a proposal to change our by-laws to to our membership; and second, to take a step back allow collegiate members of CMEA to vote in future and consider the best future direction for the CMEA CMEA state elections. Please take a little time to read Magazine. Thanks to Vice President/Magazine Editor the information about each candidate available from Anne Fennell, Executive Administrator Trish Adams, our CMEA website and vote. Past voter turnout in and interim CMEA Magazine Graphic Designer CMEA elections has been dismal (only 7.96% of Chile Nkwocha, the Fall Magazine looked great and NAfME Western Division Membership voted last was mailed in a timely fashion. election). Let your voice be heard: VOTE! Having the CMEA Magazine go digital is something the CMEA Board has been discussing for CASMEC 2020! quite some time. Some people like having a paper magazine, others prefer doing everything on their We are so happy that CCDA and the All-State devices. By going digital, articles and advertisements Choirs are back with us as part of CASMEC 2020! I can have links to websites, and it opens up the am grateful to Dr. Jeffery Benson and the CCDA possibility for other future interactive features. It also Board for their commitment to work with all of saves paper, can get to our membership faster, and the CASMEC partners to make CASMEC the saves a significant amount of money previously spent professional development conference and all-state on printing and mailing. So, in the spirit of “never event for ALL California music educators! letting a crisis go to waste,” we have used the crisis An incredible amount of planning has of losing our longtime magazine art director as an taken place to ensure that CASMEC 2020 will be opportunity to find a better way forward. I hope bigger and better than last year. CASMEC Logistics you enjoy this first digital edition of the CMEA Coordinator Willard Lacro, CBDA CASMEC Magazine brought to you by: outstanding and

Winter Issue 2020


Coordinator Ali Gilroy Golden, and CMEA CASMEC Coordinator Joseph Cargil have done amazing work with organizing facilities and schedules. Be sure to arrive by 2pm on Thursday for the CMEA General Session which will include guest speaker and NAfME President Katherine Sanz visiting us from Florida, exciting advocacy updates and much more. Later in the conference CMEA’s Advocacy team is presenting our 2nd Annual Advocacy workshop for parents. As you read through this edition of CMEA Magazine and explore conference information online, you will see that CMEA is insuring relevant and powerful staff development for all Music Educators. CMEA continues to believe that more must be done with regard to inclusion, diversity, equity and access in our profession and as such, our session selection committee has explicitly selected sessions that will empower us to not just “talk the talk” but “walk the walk”when it comes to inclusion, diversity, equity and access. One small example of this is a new performance space near the entrance to the exhibit hall. This performance space is the brainchild of CMEA Past-president Scott Hedgecock. This could serve as a second performance for

selected ensembles, or could include smaller ensembles made from selected ensembles. The idea is to include all kinds of student ensembles. Our outstanding General Music Representative, Emma Joleen, has again organized two full days of staff development for General and Classroom Music teachers. There will be multiple sessions and events designed for college music education students. The popular poster session will return thanks to our Higher Ed and Research Rep, Dr. Ruth Brittin. The Music Supervisors group and the Collegiate Council will meet, and don’t forget to come to the CMEA Awards Gala on Friday night, a heartwarming event of fellowship where we honor a few of the amazing music educators of California! This is all in addition to multiple strands of staff development on Band, Choir, Orchestra and Jazz, presented by CBDA, CCDA, CODA, and CAJ, and a huge highlight of it all, the amazing All-state honor ensembles!

It truly is a mega-conference. Fresno is the place to be February 20-23. See you there!!

Photo Credit: Rob Davidson

Photo Credit: Rob Davidson Photography

Celebrate Your Music Program with National Recognition The NAMM Foundation’s Best Communities for Music Education (BCME) program recognizes and celebrates schools and districts for their support and commitment to music education as part of the curriculum.

Get The National Recognition Your Music Program Deserves! Apply by January 31, 2020

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9/18/19 5:23 PM

CMEA Magazine

New Year, New Membership! By Ryan Clippinger, CMEA Membership Chairperson


ellow music educators, former music educators, collegiate members, and general supporters of music in California, it is time for us to come together once again and recruit new members for CMEA. As members, you already know and live the benefits of being a part of our professional organization. With your continued membership, you continue to be a part of a coalition of educators who believe in the growth of our profession and who continuously seek to provide equal access to music education in California’s public schools. As we begin our new year, let us commit to finding colleagues who are not yet members, to communicating the benefits of membership to them, and to leading them to our membership page.

• ACCESS to Advocacy – From online resources to Stand Up 4 Music and NAfME’s Hill Day, all active and collegiate members can come together and speak to local, state, and national leaders in support of music education in California’s public schools.

How do I sign up? Tell them to scan the QR Code below: It will take them directly to the Membership page on the CMEA website!

Why Join? Tell them it’s all about ACCESS. • ACCESS to more Professional Organizations – In addition to CMEA, all members are also a part of NAfME and their local CMEA State Section. It’s three memberships for the price of one! • ACCESS to Professional Development – Continued learning and gathering of strategies through the California All State Music Education Conference (CASMEC), the Casting a Wider Net mini-conference, and other workshops offered by your local CMEA Section.

It is our goal to increase our membership by 10% each year. Together, if we commit to finding colleagues to join, we will continue to allow music education to thrive in California. If you would like more tips on speaking to future members, please do not hesitate to email me at: Ryan_Clippinger@ kernhigh.org.

• ACCESS to Student Performance Opportunities – Students of active members can participate in CMEA’s high-quality solo and ensemble festivals, instrumental music festivals, and choral music festivals. Winter Issue 2020


CMEA Past Presidents 1947-1949 Clarence Heagy Fresno

1974-1976 Marlow Earle Lakewood

1998-2000 Dennis L. Johnson Salinas

1949-1951 Elwyn Schwartz

1976-1978 Mary C. Reed Elk Grove

2000-2002 George DeGraffenreid Fresno

1978-1980 Henry Avila Monterey

2002-2004 Sam Gronseth Paradise

1951-1953 George F. Barr 1953-1955 Fred Ohlendorf Long Beach 1955-1957 Harold Youngberg Oakland 1957-1960 Joseph W. Landon Fullerton 1960-1962 Douglas Kidd 1962-1964 Gibson Walters 1964-1966 Keith D. Snyder Davis 1966-1968 Kenneth D. Owens 1968-1970 Judd Chew Sacramento 1970-1972 Anthony L. Campagna Foster City 1972-1974 Louis Nash La Crescenta

1980-1982 Charles L. Freebern San Diego 1982-1984 David S. Goedecke Stockton 1984-1986 Vivian M. Hofstetter Bakersfield 1986-1988 John L. Larrieu Portola 1988-1990 L. Leroy Roach Walnut Creek 1990-1992 Carolynn Lindeman Greenbrae 1992-1994 Bill Adam Roseville

2004-2006 Rob Klevan Pacific Grove

CMEA Hall of Fame Award Recipients Honoring Lifetime Achievement in Music Education Judi Scharnber, 2019; Jeri Webb, 2019; Dr. Lawrence Stoffel, 2018; Dean Hickman, 2018; Dr. Edward Harris, 2017; Michael Corrigan, 2017; James Mazzaferro, 2017; Dr. Robert Halseth, 2016; Rosemarie Krovoza, 2016; Rick Meyer, 2016; Dale Anderson, 2015; Ann Marie Haney, 2015; Dr. Thomas Lee, 2015; Jon Christian, 2014; Orrin Cross, 2013; Gayane Korkmazian, 2012; Gerald E. Anderson, 2012 ; David Whitwell, 2011;

2006-2008 Cheryl Yee Glass Danville

Nicholas Angiulo, 2010 ; Vincent Gomez, 2010; Kem F. Martinez, 2009;

2008-2010 Jeff Jenkins Chula Vista

John Larrieu, 2007; Mary Val Marsh, 2007; Barbara Cory, 2007;

2010-2012 Norman Dea Walnut Creek

Paul Shaghoian, 2006; Frances Benedict, 2005; L. Leroy Roach, 2005;

Carl W. Schafer, 2009; Robert W. Lutt, 2009; Duane Weston, 2008;

Bill Ingram, 2007; Carolynn Lindeman, 2006; Joe Foster, 2006;

Silvester McElroy, 2005; Jerry Kirkpatrick, 2005; Robert Greenwood, 2004;

2012-2014 Russ Sperling San Diego

Arthur Huff, 2004; Lyle Stubson, 2004; Lois Vidt, 2004; John Farr, 2003;

2014-2016 Michael D. Stone Bakersfield

William Hill, 2001; Helynn Manning, 2001; Wesley “Colonel” Moore, 2001;

2016-2018 Scott Hedgecock Placentia

Chuck Schroeder, 1998; Dean Semple, 1997; Burl Walter Jr., 1996;

Thomas Eagan, 2003; Larry Johnson, 2002; Mary Louise Reilly, 2002;

Vivian Hoffstetter, 2000; F. John Pylman, 2000; Lawrence Sutherland, 1999;

Jerry Moore, 1994; Mike Pappone, 1992; David Goedecke, 1991;

1994-1996 Don Doyle Pasadena

Marlowe Earle, 1987; Arthur Dougherty, 1985; William Burke, 1983;

1996-1998 Jay D. Zorn La Crescenta

Russell Howland, 1975

Call for Performance Ensembles Stand Up 4 Music March 24, 2020 by Jeremiah Jacks, Coordinator

Aubrey Penman, 1981; Steve Connolly, 1979; Howard Swan, 1977;

It has been wonderful to see SU4M continue to grow and expand in approach and intent over the years. I feel fortunate to be a part of the process, and am excited to see our SU4M Day Performances continue to evolve as well. This year, rather than using an audition process, we will be inviting ensembles to share their music with our community and state leaders throughout the day. With a good deal of change around SU4M this year, I will be inviting ensembles to join us once we have other details of the day confirmed. I am very excited about our date change to March 24th, 2020, and hope that this will allow a higher participation in the event. I highly encourage you, my friends and colleagues, even if you are not performing that day, to bring your students to see advocacy in action, to take a tour of the Capitol and take the opportunity to discuss with your students at this event the importance of equal access to quality public music education for ALL students, and how we might effect that change. Let’s flood the capital with young musicians, and show our legislators just how important a public music education is, for our students and for our community. If you would like one of your ensembles to join us in this adventure, please email me at jeromejacks30@gmail.com or call me at (530) 417-7021 so I can keep your ensemble in mind as I plan out the performances for the day. I look forward to seeing everyone in February at CASMEC!


CMEA Magazine

Featured Performance Ensembles Ayala High School Vocal Ensemble Robert Davis, Director Bakersfield College Chamber Singers Jennifer Garrett, Director Clovis East Choraliers Carlin Truong, Director Clovis High School Chamber Orchestra Esmeralda Rocha-Lozano, Director CSU Stanislaus Chamber Singers Daniel Afonso Jr., Director Gilroy High School Chamber Singers Jonathan Souza, Director James Logan High School Wind Symphony Dr. Adam Wilke, Director Lincoln Middle School Wind Symphony Salvador Munoz, Director San Jose State University Wind Ensemble Dr. David Vickerman, Director Santiago High School Jazz Ensemble I Mike Gangemi, Director Vivace Youth Chorus Peggy Spool, Director Wind Symphony of Clovis Dr. Gary P. Gilroy and Christine Keenan, Directors

Clinics at CASMEC:

In addition to Band, Choral, Jazz, and Orchestra Clinics, there is also a wide range of sessions offered to conference attendees: Advocacy

Advocacy & Alliances: How a Group of educators Began Changing Music Education in One District Rural Schools: Brainstorming for Advocacy and Equity Schools & Communities First Initiative (Proposition 13 Reform) Small But Mighty: Resources and Networking for Small School Music Teachers

Creating & Composition

Composition and Improvisation for Classroom Guitar Improvising in Beginning to Intermediate Bands and Orchestras: Four Great Ways to Engage Your Students in creativity starting on Monday! Making Room for Creativity in the High School Large Ensemble Self-Publishing and Arranging: Legally sell your music online!


Preparing Our Youngest Musicians: How to plan, prep for, and create successful lessons for early general music classes. Teach Old Songs with New Tricks: Engaging Pieces for your Elementary Classroom

General Music

21st Century Orff Schulwerk Embracing the Change: Integrating HipHop Into Arts Education

Jazz Beginnings in the General Music Classroom Lunchtime General/Elementary Music Committee Orffing Around Kodaly Diversity Rebooting Classroom Piano: Research-based pedagogy for new and experienced teachers

4 Strategies for Improving Connections with High School Music Students Research and Special Projects Poster Session

Special Learners

Traditional Ensembles In a Totally Inclusive World

Rhythmic Solfège the Dalcroze Way

Understanding Sensory Challenges for Students on the Spectrum

Sigamé Mis Amigos/Follow Me My Friends

World Music

Soulful Science: Using Electric Guitars to Teach Electromagnetism

Afghan Children’s Songbook Project: Preserving Culture

TECHing Recorder Instruction

Bringing Authentic Chinese Folk Songs to the Music Classroom

The ABC’s and 1,2,3’s of Music in the Pre-K Classroom: A Demonstration of Early Musical Experiences

Marimba: The Key to Experiencing Central American Folk Music


A Paradigm Shift – Where does music education go from here? Beyond Three Chords and the Truth: Adding elements of popular music education to your program ConneXions: A Non-Traditional Cohort Ensemble Recruit Students to Your Music Program Using Game Audio Think, Create, Escalate! Engaging students in transformative learning.

Starting a Mariachi – and Beyond

Other Professional Development

Empowered Women in California Music Education Fostering Equity, Diversity, and Inclusion in Teaching and Performance through the Lens of Social Consciousness Social and Emotional Learning (SEL) is Not Another Program, It is What Music Educators Do – Create Positive Environments for Learning Student Panel: Student Perspectives in Music Education

Music Technology

Supporting English Learners in Beginning Instrumental Music

Ableton Push, Step by Step

Surviving the Fire: What to Expect When a Disaster Hits Your School

Ableton Live in the High School Classroom

Folk Dances from Far and Near

Air On a G Suite: Google tools for music education

Have a Ball! Bouncing and Passing Games and Music for Young Children

Integrating Composition Projects and Technology

Hook, Line, and Sinker: The Power of Rhythm and Rhyme in the Classroom

Music Teacher Professional Development Through Podcasts

Improving Focus and Concentration Through Dalcroze Eurhythmics

Noteflight Learn for Composition, Recording, and Assessments

Incorporating Handbells and Handchimes into the General Music Classroom


Production Through Performance: A new way to teach tech

Teaching Guitar 101: How Non-Guitarists Can Survive…..and Thrive! Teaching in the Intersections: Culturally Responsive Pedagogy in Action The Millennial Music Director: Who Should We Program? Understanding Your World Through Criteria Based Information YOU are Harold Hill. Recruiting and retaining for YOUR program

Visit www.casmec.org for session descriptions, presenter bios, and much more!!! 8

CMEA Magazine

Getting to Know our California State University Chico Collegiate NAfME Chapter by Anne Fennell, CMEA Vice President


he California State University Chico NAFME Collegiate Chapter is one of 700 collegiate chapters in the United States. The chapter has been active for over 50 years and has been recognized for its service and continued contributions to music education. Read on and learn more about these aspiring music educators and their advisor, Dr. Michelle McConkey, Associate Professor of Music Education at Chico State. Rebecca Solis

Hanna Buck

Daniel Crispino

Phebe Cisneros

Julia Daijogo

Update from Chico State Collegiate NAfME Chapter Advisor, Dr. Michelle McConkey

I love music education! I grew up singing, attending orchestra concerts, and playing piano and organ in church. My dad was a music educator for over 40 years; he taught at our local university, my alma mater, as the orchestra director and studio instructor. You could say that teaching and music are in my DNA. I was excited to take on the role of advisor for the Chico State collegiate NAfME chapter ten years ago because I enjoy being with music education students. They are diverse, eager to learn about teaching, come to us with varied experiences, and are a great group to be around. As an advisor, I get to help these preservice teachers discover themselves and pass on some learned experiences of my own. Chico State has a very rich history for music education. Our student chapter has been in existence for over 50 years and has won several national and state awards. We have had our ups and downs regarding growth and size, but through dedication and perseverance, our program is currently strong and growing with all our majors participating in NAfME. We believe that a great educator is well-rounded so we have begun to shape our meetings and development around the cognitive, physical, social, and emotional parts of teaching music. One of the greatest goals we have for our chapter is that the students support each other, because at Chico State we are family! - Dr. Michelle McConkey, Associate Professor of Music Education at Chico State

Brooklyn Becker

Patrick Manning

Veronica Zavala Nunez

Dr. Michelle McConkey

Chico State NAfME Collegiate Chapter Officers Rebecca Solis, President Daniel Crispino, Vice President Phebe Cisneros, Secretary Brooklyn Becker, Co-Treasurer Veronica Zavala Nunez, Co-Treasurer Hanna Buck, Historian Julia Daijogo, Public Relations Representative Patrick Manning, Fundraising Chair Dr. Michelle McConkey, Associate Professor of Music Education at Chico State, Advisor

Why are you on the collegiate council?

I am on the NAfME council because I enjoy planning events and spreading knowledge about our program. Participating in outreach programs at our local high schools is also very rewarding. It gives us a chance to meet our prospective students, and make them feel welcome on our campus. - Julia Daijogo, sophomore, Public Relations Representative I am on the collegiate council because I wanted to give back to a program that means so much to me. I also wanted to get more involved with my major and find more resources. - Rebecca Solis, junior, President Being in my organization as well as giving back is something important to me. Also I get to participate in special

Winter Issue 2020


opportunities while improving my skills as a teacher. - Phebe Cisneros, Secretary I am on the collegiate council because I want to continue to build my leadership skills and grow the Chico NAfME chapter to the best it can be. The organization has played an important role in my college career and now I want to give back to it. - Daniel Crispino, Vice President

What are your goals?

My Goal is to be able to learn as much as I can with the help of everyone. I hope that with working with them they will help me better myself so that I can be the best teacher I can be. - Hanna Buck, Historian I would love to teach High School band and choir in an underprivileged/Title 1 school. As someone who came from a Title 1 school, I have seen how a high school music program benefits students as well as the community. - Phebe Cisneros, Secretary

My long-term goal is to be a well-known musician in the percussion field and beyond. I hope to perform in multiple venues, as well as open an art center in Northern California that can implode with the fine arts, from jazz to orchestral to marching arts to plays and far beyond. - Patrick Manning, Fundraising Chair My goal is to learn as many skills in college so that I am able to use those experiences to help my future students. I don’t just want to be a music teacher, I want to be a person who helps people in every way possible. My students are my priority and I want to motivate them to achieve their dreams and objectives. - Daniel Crispino, Vice President

What do you enjoy about the council?

Being part of the council is one of the music department’s biggest outlets into the community here in Chico that is music-based. We are the active voice of our college and our community that centers on empowering local high school and middle school groups to being out in the city, as well as introduce Chico State students to successful alumni that have been in our place at some point and time. - Patrick Manning, Fundraising Chair The best part of being in the council is hearing everyone’s creative ideas and their passion to be involved within the organization. Everyone wants the Chico NAfME Chapter to be fun, engaging, professional, and informative. Hearing my peers talk about their goals that they have for the chapter brings positivity and happiness to me. - Daniel Crispino, Vice President I love getting involved and being able to work with other leaders and staff. There are so many other students and faculty who are passionate about helping our program grow and be

the best it can be. One of my favorite things is when we come up with a really fun idea and work together to execute it. - Rebecca Solis, President

How will participating in the Chico State Collegiate Chapter help you become a future music educator?

Being on the council has not only taught me how to work with others, but has taught me how to think quickly. There has been a lot of issues that come up last minute that I need to decide very quickly how to resolve them. It also teaches me a lot of things that are not taught in classes that we will need as a music educator. - Rebecca Solis, President Being on council gives me a look at all of the behind-thescenes work that goes into planning events. It has opened my eyes to everything that takes place before, during, and after festivals, performances, and conferences. - Julia Daijogo, Public Relations Representative My job on council will help me in the future when I have to do all the paperwork that comes with being a teacher. From sign-up sheets to important forms, I get experience making these forms that not only help run the NAfME organization, but help run my future music program. - Phebe Cisneros, Secretary This will help with my leadership skills as well as having connections out in the world. - Hanna Buck, Historian

What is one event or moment in the collegiate council that will stay with you forever?

Last semester, the NAfME chapter took a trip to CASMEC (California All-State Music Education Conference) in Fresno. Up until that point, I was slightly disconnected from the council due to being homesick. There at the conference, I was able to reconnect with a plethora of musical individuals I have encountered over the years, as well as music directors I had previously worked with. It was so beautiful to see the whole community of people come together as a whole to celebrate and moreover, learn. I am such a proud member of the NAfME collegiate chapter her at Chico State and I can’t wait to continue to grow within the musical world. - Patrick Manning, Fundraising Chair One moment that I will never forget is going to dinner the second night of CASMEC at the Spaghetti Factory, with our whole chapter. We were all sitting at a table, laughing and enjoying our food. Looking back on that day makes my heart warm, and gives me a strong feeling of friendship. - Julia Daijogo, Public Relations Representative One moment in the council that will stay with me forever is planning our community events. Each semester we have been performing group /solo pieces at senior citizen homes. The


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very first performance was hard to get people to sign up and step out of their comfort zone. But afterwards when we saw how happy we made people, everyone in our chapter forgot about our stress/anxiety and was reminded of why we chose music. - Rebecca Solis, President

If you are interested in creating or joining a NAfME Collegiate Council, please email: collegiate@nafme.org. The CMEA Collegiate Council information is found: https://www.calmusiced.com/index.php/cmea/collegiate

One event that will stay with me forever is from this year’s NAfME BBQ. All of our collegiate council went to our advisor’s house, ate good food, sang songs, and tried to figure out riddles. All of us were getting so frustrated that we couldn’t figure out these riddles! They were so simple too! Phebe Cisneros, Secretary I will always remember when we would do bonding events to get to know everyone better. My favorite is when we all went to the pumpkin patch and got pumpkins for our professors. Everyone was having fun and some got to experience new things. - Hanna Buck, Historian

Or follow Chico State Collegiate NAfME Chapter on Facebook

----Congratulations to the Chico State Collegiate NAfME Chapter on their continued growth and successes! These collegiates are inspiring and are truly dedicated to lead their peers in California. What great fortune we have in California, knowing these students are the future of music education.

Ride your wave.

Four-year music scholarships awarded for majors and non-majors. Degree Programs: BA in Music, Minor in Music Final live audition date and video auditions deadline: Feb. 22, 2020

Learn more about scholarship auditions at: willamette.edu/go/musicauditions

Winter Issue 2020



by Bruce Lengacher

s we start in on the second half of the school year, don’t forget to go back and celebrate your successes in the first semester. We often forget to acknowledge those small things that usually happen in rehearsal, because we’re overly focused on performance induced deadlines. Take a couple of minutes during a rehearsal and ask your students to reflect on where they started in August and how far they’ve come in the span of four months. Ask them to focus on skills they feel they have mastered, those


by Holly MacDonell

he year is underway and festival season has arrived. The North Coast Section is proud to host festivals geared toward a number

of levels and types of ensembles. In addition to the traditional large group festivals (Jazz, Choral, Instrumental, All County Music Festival), we host a Solo and Ensemble Festival, we will host our second Honor Orff Youth Ensemble for 4th through 6th graders, we are scheduling a Middle School Instrumental Workshop, and we plan to host a Steel Pan Festival. I am especially excited for the Pan festival because while the festival is not new, it is a new addition to NC CMEA’s festival line up. Another great development to the North Coast Section is the addition of a CMEA State Rural Schools Representative, Judi Scharnberg. Judi has been an educator in many locales and has been a very active member of our section for years. Judi has already done a lot of work to help define what makes a “rural school” and how their

needs differ from your average school. While the North Coast Section of CMEA is fairly isolated, our local educators are as experienced and inspired as any in the state. We share some of the same concerns as educators throughout the state, but our ruralness creates additional issues (many because of funding). There are some schools that can’t afford to get a bus to take them to a festival. Because of our specific concerns, creating connections between music educators within our regional communities can be tough. I am proud that the North Coast Section continues to offer large and small ensembles to students that can be rather isolated otherwise. Knowing that attending students will benefit from the work we put into our festivals and other activities keeps our section inspired and active. I hope you have a great Festival Season!

Winter Issue 2020


North Coast Section: Festival Season!

chapters who provide a lot of the labor and all of the logistical support. The new facet of our Outreach Program, CMEA in the Classroom, sent qualified adjudicators to four Title I Schools this past spring and have received requests from six schools for this school year so far. Additionally, we are providing scholarships for five ensembles from Title I schools to attend a Band/Orchestra Festival in their area and continuing the initial component of this program by providing free registration to Title I teachers to our Winter Conference. This is an ongoing and evolving program that continues to grow and provide support for all of our Bay Section members, schools and students. I am starting my last semester as President and in June will begin my two-year term as Past President. I feel so fortunate to work with such talented and generous colleagues who have the common goal of constantly thinking about how to adapt and modify to better serve our membership. I will be taking over the running of the Outreach program next year and am excited about what we can accomplish. Cheers to a great end to the school year!


Bay Section Update

they improved and those particular moments of making music that stood out for them. I’m always surprised by how insightful and thoughtful students are when given the chance to share with each other. On Saturday, January 12, 2020, we concluded our annual Winter Conference. President Elect Keith Johnson, along with the Special Representatives and our SJSU site hosts Dave Vickerman and Corie Brown, put together over 40 professional development sessions that ranged from “Addressing the Elephant in the Room: Navigating the Issues of Cultural Diversity and Discrimination,” presented by Soon Hee Newbold, to “A Guide to Contemporary EnsembleIncorporating Hip-Hop, R&B, & contemporary popular music into today’s Jazz Ensembles,” presented by Kev Choice, plus many more. The conference also had four reading sessions and three Junior High (7, 8, 9) Conference Honor Ensembles. The choir was led by Kristine Nakagawa, the Band by Vu Nguyen, and the Orchestra by Cyrus Ginwala. This annual conference would not be possible without the diligent work of our Site Hosts and the SJSU NAfME student




Southwestern Section Update


by Jessica Husselstein

Southeastern Section: Intentional Growth for Professional Success by Ryan Duckworth


ne of my cleverer friends, a software designer, likes to quote from an unlikely source: the movie Tommy Boy. In that film, the character “Big Tom” says, “You’re either growing or dying. There ain’t no third direction.” It may not be the most profound of sources, but there is wisdom in these words. Things grow and things fall away—that is the way of life. But it isn’t entirely haphazard either. Anyone who has ever tried their hand at growing flowers knows that a beautiful garden rarely just happens.

hile most of us in the Southwestern section can only imagine what it would be like, I love the idea of a crisp, fresh blanket of snow. Fresh, clean, and sparkling with the promise of new growth just below the surface - this is just how I feel coming back for second semester. As the wildlife hibernate during this season, they rest in order to prepare themselves to continue to grow. Burrowed underground, there is an energy in stasis, just waiting for the right time to emerge. Similarly, there is an exciting movement happening just under the surface in our education community. An undercurrent of collaboration, support, and balance.

SWS is wholeheartedly embracing the collaborative model of professional development. Live on our website, rebrand.ly/cmeasws you can find links to register for member-led workshops. We also have our new SWS Event Request Form that you can use if you would like to host an event to share your expertise on a subject. We encourage all our members to join us at CASMEC as well. All of these opportunities will help you nurture the seeds you planted last fall. As the ice thaws this spring, your new growth will emerge healthy and strong, ready for the energy of the season ahead.

My wife and I inherited a rose garden when we bought our house. One of the lessons we learned early on was: if you want healthy blooms, you have to prune the plant. It takes intentionality to get desired results. The same is true in education. When I went through my undergraduate program, the popular term was “scaffolding.” I’ve heard other phrases over the years, but it amounts to essentially the same thing. Providing intentional support for a student in specific ways to help them achieve new levels of success. Chances are, if you are reading this, that you are an educator yourself. In a myriad of ways, we all are teachers, even if it is not currently our “day job.” Teaching is a noble art. But I want to remind you here, that no matter who you are, you are also always a student. There are always lessons to be learned. But like the gardener above, it takes intentionality to get desired results. Have you ever considered scaffolding your own professional development? What supports do you need in your own professional growth to help yourself achieve new levels of success? CASMEC is a great place to start or continue this process. Are you planning to attend? What sessions are you excited about? What kind of sessions will be most beneficial to your

own growth? I always enjoy skimming the catalog of sessions, either in the printed catalog or on the app. It always amazes me how simultaneously diverse and relevant my options are. I truly hope you have already made plans to attend this year. If you are, I look forward to seeing you, and perhaps learning from you there. If not, let me say again that it’s absolutely worth attending, and if you can’t make it this year, you should make a commitment to yourself that you’ll plan to attend next year. Your Southeastern Section is another resource you can use as you plan your own professional learning. What are the areas where you as a professional educator can use more support and scaffolding? Composition? Technology? Instrument repair? The new standards and framework? Advocacy? Please, let us know what you need help with and we’ll do our best to provide that to you. We want to support you in the most meaningful ways possible. Let us know what you need. Either find me at CASMEC or send me an e-mail at CMEASoutheasternSection@gmail.com so we can begin this conversation. Finally, I hope that you will take advantage of the events we have coming up in the spring. Our Choral “Tune-Up” Festival is at Bloomington High School on February 13, 2020 at


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10:00 am. Members’ groups are only $75 and include performance time with an on-stage clinic session. Nonmember groups are welcome too, for $125 per ensemble. Or schedule an Elementary Band Mobile Clinic for your elementary band ensembles any time from March to May. Members can register an ensemble for only $55, non-members for $75. Or send your

best soloists and small ensembles to regional Solo & Ensemble events. Any student or ensemble earning unanimous superiors at a regional event has the opportunity to perform at the All-State Solo and Ensemble Festival on May 9 at Cal Poly Pomona. For information on any of these events, please visit our website: CMEAsoutheast.org.

Southern Border Section Update by Jeffrey Malecki

• Choral “Tune Up” Festival, 2/13/20 • Elementary Band Mobile Clinics by arrangement 3/2/20 through 5/29/20 • All-State Solo & Ensemble Festival (Southern) 5/9/20. about advocacy across the U.S.-Mexico border, as interest is stirring across the K-12 and collegiate community. And of course, we know how to celebrate our amazing colleagues with the annual Fortissimo Awards in late January. This year the event has moved closer to central San Diego at the amazing Stone Brewing Company venue – all are welcome! For details on Fortissimo and all of the other events, including the outstanding festivals that are a staple of spring semester, check in with our website: cmeasbs.com.



hings are great at the bottom of the state! After one of the most highly attended Arts Empower Mega Conferences in our history in October, we have a full slate of activities in the works for spring semester. To continue expanding our support of the choral and orchestral community, we are designing a new day-long workshop focused on vocal technique and bringing back our Orchestra Make-Over festival. The University of San Diego will be partnering with “Casting a Wider Net” to hold a unique festival-conference in April, embracing student groups from less traditional ensembles. I have been excited to continue the conversation

Upcoming Section Events:

Enriching Students’ Musical Experiences through World Music Pedagogy: A Conversation with Professor Patrician Shehan Campbell by Dr. Lily Chen-Haftek


ith the increase in cultural diversity of our Californian student population, the interest in teaching world music has been growing among our CMEA members. We have great success with the world music sessions at this year’s CASMEC. These workshops were packed with enthusiastic CMEA colleagues who want to bring more world music into their classroom. I can see that we are all “hungry” for more information on it. Therefore, I decided to interview the renowned Professor Patricia Shehan Campbell and ask her for her expert advice and to give us some updates on this important topic of music education. Professor Patricia Shehan Campbell is Donald E. Peterson Professor of Music at the University of Washington, where she teaches courses at the interface of ethnomusicology and music education, including music for children, world music pedagogy, and ethnographic research in music. She has delivered lectures and conducted clinics across North America and in Europe, Asia, Latin America, Australia, New Zealand, and South Africa. She is published widely on issues of cross-cultural music learning, children’s musical cultures, cultural diversity in music education, and the study of the world’s musical cultures in K-12 and university courses. She received the Taichi Traditional Music Award (along with Ravi Shankar and Bruno Nettl) in 2013, and the Koizumi Prize in Ethnomusicology in 2017, for her work on the transmission, teaching, and preservation of traditional music in schools and university music programs. She was also recipient of the Senior Researcher Award from the Society for Research in Music Education in 2002 for her long and continuing research record, and the 2014 Kent State University Distinguished Alumni Award. Professor Campbell is editor of the six-volume World Music Pedagogy series published by Routledge in 2018-19 on diversifying the musical content and approach to music in schools. She is co-editor of the Oxford Handbook of Children’s Musical Cultures (2013) and the Global Music Series (2004-present), a series of books and recordings by 28 ethnomusicologists in study of the world’s musical cultures. She has written well over 150 books, chapters, and articles in refereed journals. I am very grateful that Professor Campbell has

taken time from her busy schedule to talk to us. Here is our conversation. Lily: Pat, you are the authority of multicultural music education during many years and you have contributed so much in this field through your research, writings and teaching. Can you please tell us what you think about the recent development of multicultural music education? The situation of today must be very different from when you first started, right? Pat: Very kind of you to call me an “authority”, and I guess I’ve spent much of my life in the throes of music education as it is impacted by our changing world with its diverse American communities and the global networking that we all have within our midst. We were less multicultural then, perhaps somewhat only bicultural in some cities and towns, and music of the world, from Japanese gagaku to Brazilian samba, was yet “exotic” to our ears. In my career as a music educator, teaching in the schools of Cleveland and St. Louis, the diversity of our student populations was apparent even back in the 1970s-1980s… and yet the prescribed canon was Western Art Music—in bands (transcriptions), choirs, orchestras, and “music appreciation classes.” What was it like, I wondered, to be a kid with a cultural identity other than white/Western, experiencing music in schools of a steady diet of Bach, Beethoven,and Brahms? (Actually, there was *much* joy in making and/or responding to this music, by children of color…and yet…there was nothing there for the kids who were not so drawn to it, who were captivated instead by R&B, early “rap” and breakdancing, a bit of reggaeton, and the gamut of American popular music.) So some of us started to bring in community musicians to the schools—a gospel choir director, a blues guitarist, and players of mandolin, accordian, banjo. While these musical choices were not widely multicultural, they were the musical styles to which we had live-access, coming from local musicians, the culture-bearers, who knew their music and could play/sing/tell stories behind the music. Then, when we worked toward a sense of the greater musical world, we had only records, LPs, and some cassette tapes, of “ethnic music” to go with. Some


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of us transcribed music from the UNESCO recordings, taking them into general music classes; of course, bands, choirs, and orchestras of that time continued their course of music of the Western art canon.

Professor Campbell learning Wagogo music in Chamwino, Tanzania

But now: Look at us now! We are so multicultural across the US, and we know that our school populations up and down the west coast are a mosaic of children from every imaginable heritage. We have such access to so many beautiful musical expressions in the world—Spotify, YouTube, online archives, and plenty of school-oriented books, recordings, and websites. We could be inviting community musicians and culturebearers of so many heritages into our classrooms and rehearsal spaces, intersecting school music experiences with locally-living musicians. We are changed, and changing still—and knowing more of “the human family” and of the world-at-large is imperative. Fortunately, we have the magic of music to open ears, minds, and hearts to people through their music. Lily: I know that you have recently edited a six-volume World Music Pedagogy series. Can you please tell us what World Music Pedagogy is? What is new about it? Pat: Yes, six volumes by 11 authors, that cover age/grade/ experience levels on matters of “teaching world music” in culturally sensitive ways. The volumes encompass early childhood, elementary music education, secondary school innovations, instrumental ensembles, choral ensembles, and school-community intersections. The authors are all experienced school music educators, all in university positions working with prospective music teachers. The six volumes are current, in that they were published in 2018-19. In a sense, World Music Pedagogy is both old and new. Old, because “WMP” pays heed to the way in which music is learned all over the world: By ear. That is the very old and historic way of learning folk and traditional music, much of the world’s art music, and even Western European art music well into the Middle Ages, and it is also current, as in the case of popular music all over the world today that is learned by listening to it. World Music Pedagogy is also new, because the method that has evolved takes the principles of ethnomusicology,

oral-aural transmission and “music as culture” (and not just “sonic material”), and rolls it into the ways of teaching/learning music. So, learning by ear and telling the back-stories of the music and musicians are important to the method. So, the core of World Music Pedagogy is listening, with the belief that much music—especially music with built-in “moderate redundancy” (not *the* most complex musical works we can find) can be learned through repeated listening—to recorded music, to live music played by teachers and visiting artists. Notation is not necessarily ignored, of course, and can be featured along the way. Think of it: an African American gospel song, a Cuban rumba, a Serbian kolo (dance music), a Hawaiian mele hula, a South African freedom song, a Mexican song, and music from India and Ireland, China and Chile—all learned by ear. Because that’s the way much of the music of these cultures is learned! Think of it as “comprehensive ear-training” on the way to performance of music of many/any cultures. In World Music Pedagogy, listening happens by degrees, repeatedly, and to a small excerpt of music (often less than a minute in length). Listening is (1) “Attentive” (focused on the teacher’s directed questions), then (2) “Engaged” (where students are invited to try out the rhythm or melody they hear by playing it or singing it, after which they tighten it up, adding another “part”, and so on, with the recorded (or live) music sounding), and then (3) “Enactive” (where students are making their way to performing all parts of the music—on whatever instruments they may have, or vocally). There are five dimensions in all in WMP, so that once the music is learned all the way to performance level, there comes “Creating World Music” so that students can take what they learned and vary it, extend it, improvise upon it, or compose a piece that stays in the style of the world music selection. “Integrating World Music” comes early or late in the experience, as the music that is studied is learned as part of cultural expression, and studies of the culture are important to knowing the meaning of the music: Who makes it? Why do they make it? When? Where? How? Imagine that an excerpt of Filipino rondalla or Mexican mariachi could be understood more fully by answering the questions, and this requires integrated studies, to be sure. Did I mention these points in the practice of World Music Pedagogy? (a) The musical excerpts to be learned by listening are very short, (b) the listening requires many repetitions (30? 50?)—short listening bouts often over many days, and (c) the performance of the music is typically on familiar instruments, or vocally, rather than on instruments featured on the recording. For example, a 40-second excerpt of a sitar’s raga might take 40 listenings, over 2 weeks (or 2 months!), and might be sung rather than played, or played on wind instruments rather than on a sitar… because that’s what the students have on hand. Sure, the timbre of the sitar is missing in the classroom

Winter Issue 2020


realization of the music, but still the students are playing the melody, following the tala, getting the form. And, they are constantly tuning in to yet another “listen” to the recording of the sitar. The process of World Music Pedagogy strives to get the world’s musical expressions into the ears of the students. The music is changed some when students start making it, but it’s still an adventure in learning music that is equally valid while it is also culturally distinctive. An added point is that we music educators are learning right alongside our students, listening and learning.

World Music Pedagogy course participants, University of Washington, with Thione Diop, Wolof musician from Senegal

Lily: I realize that the six volumes all have different focus areas in music education. How is it possible for a pedagogy to be applied to all these different areas? Pat: Because the point is to offer our students exposure, experience, and an education in music—Music!, with a capital “M”—ALL Music. We’ve been in search for repertoire as well as strategies that can help us to diversify the music we teach. We worry that we don’t know enough about the music (of, for example, Iran, Nicaragua, Samoa, Japan, Nigeria), and that we sometimes make excuses that we don’t have the “right” instruments, and we may think that everything we do must rise to a perfect performance level. World Music Pedagogy suggests that the recordings (or the live musicians we bring in from the community) is the music, and it’s right there for us for our insertion into a class or rehearsal—for a brief 5-minute excursion over many days, until it is familiar to us and to our students. As we’ve noted, any instruments, and voices, will do, because we sing and play with the recordings until we are independently ready to try it alone and without the recording. We can go to a perfect performance level of that 40-second excerpt we’ve learned—and it becomes a performance piece as teachers and students work together to build in repetition, or extension, or variation (sing it one time, play it another time), but we can also experience a Turkish makam or a Samoan sasa as an in-class exercise, too, that may never go to public performance. Learners of all ages, and in every context, can benefit from

learning by listening, from learning about music as cultural expression, from building learning into participation and then full performance, from creating something new from the musical selection that serves as a model and a launch to another expression. Lily: What is your advice to our CMEA members, who want to implement World Music Pedagogy? How can we get started? Pat: Oh, my advice for teaching music with cultural diversity very much in mind? Do it! Look into repertoire, and keep in mind also the people whose music it is, and how this music is transmitted, taught and learned. Consider the importance of learning by listening, as we could stand to have more musicians with a keen ear…as well as a multicultural sensitivity, who care enough to cover a spectrum of the world’s musical cultures. Please do look into the World Music Pedagogy series, published by Routledge, as there are many lessons, lesson-segments, ideas about teaching music/teaching culture, and certainly recommendations for resources. Read on the pedagogy in the book, Music, Education, and Culture: Bridging Cultures and Communities, which I published in 2018. Consider taking a course in World Music Pedagogy, in collaboration with Smithsonian Folkways Recordings, as these courses are available in the summer at various locations, including the University of Washington just up the coast from CMEA members. Keep listening, keep opening the ears, the minds, the hearts, with every intent of meeting the moral imperative of musical equity—making a place for people’s musical expressions to be known to our students. Thank you very much, Professor Campbell, for sharing your ideas and experiences in teaching world music with us. Let’s take action right now! Do our best to bring these culturally diverse musics into our classrooms to enrich our students’ musical experiences! References Bartolome, Sarah J., 2019. World Music Pedagogy, Volume V: Choral Music Education. New York: Routledge Press. Campbell, Patricia Shehan, 2018. Music, Education, and Culture: Bridging Cultures and Communities. New York: Teachers College Press. Campbell, Patricia Shehan, and Chee-Hoo Lum, 2019. World Music Pedagogy, Volume VI: School-Community Intersections. New York: Routledge Press. Howard, Karen, and Jamey Kelley, 2018. World Music Pedagogy, Volume III: Secondary School Innovations. New York: Routledge Press. Montemayor, Mark, William J. Coppola, and Christopher Mena, 2018. World Music Pedagogy, Volume IV: Instrumental Music Education. New York: Routledge Press. Roberts, J. Christopher, and Amy Beegle, 2018. World Music Pedagogy, Volume II: Elementary Music Education. New York: Routledge Press. Watts, Sarah H., 2018. World Music Pedagogy, Volume I: Early Childhood Education. New York: Routledge Press.


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Giving Opportunities California Music Education Foundation

Supporting the professional development of our members and future leaders.

CMEF Foundation Programs

Future Leaders Scholarship Dr. Randi Carp Choral Music Education Scholarship Don Schmeer Memorial Scholarship Fund CMEA Annual State Awards Endowments

Emilio Lopez Felix First recipient, 2018, of the Dr. Randi Carp Choral Music Education Scholarship, with Michael D. Stone, CMEA Past President. Emilio is a freshman at California State University, Fullerton and a Music Major/Vocal Music Education.

Visit: www.calmusiced.com/index.php/cmef

What we do Education with the money and state the mission statement. The California Music Foundation is a California Nonprofit Public Benefit corporation that supports charitable and educational efforts to promote quality music instruction for the children and adults of California.

Rural Schools Report by Judi Scharnberg, Rural Schools Representative


usic in California’s rural schools has many challenges that are unique to this demographic. To that end, the CMEA Board has established a Rural Schools Representative to sit on the Council. I have taught in rural school systems in Maryland, Ontario (Canada), and California. Those of us who choose this path find beauty in the settings, and community appreciation for the expertise we bring to our students.

Challenges • The biggest one is geography. Statewide, participation in music drops from 14% to 7% in category #43, “Rural: Remote.” I live in Humboldt County; one of our high school districts is the size of Rhode Island. It can take students up to two hours by bus each way to get to school and back. Public transportation is mostly limited to the highway 101 corridor, and even experienced drivers find the winding roads, bears, elk, and lack of guardrails scary. This means that after-school activities are for the few students who have cars, or parents who can pick them up. It costs over $500 for a school bus to bring students to festivals from Crescent City to Arcata or Eureka. Private lesson teachers are rare or non-existent; many students do not have access to home internet so can’t even do ‘YouTube’ type lessons. All schools on the North Coast Section are listed as either ‘remote’ or ‘distant.’ •

School size. Every high school in the North Coast Section (Humboldt and Del Norte) has mostly ‘singleton’ upper level science, math, world language, AP courses, and certainly music. This means that students, especially those in secondary schools with a six-period day, will not be able to take music all four years in a college-preparatory program.

Small schools cannot afford a full-time music teacher. And a music teacher is usually expected to teach every aspect of music. I’ve seen job descriptions that include beginning band and strings in the same room at the same time. Or five classes with five preps: band, jazz band, choir (beginning and advanced in the same period), music tech and study skills. The open positions for 20% or even 40% FTE go unfilled, often for years. Non-credentialed personnel or those with minimal experience will take a job until something better comes along.

Good News/Bad News The new law added to the Education Code in Section1 (4618) is the mandated ‘late start’ for schools. Rural schools do not have to comply. However, zero period is not funded by ADA and so those classes are not reported in CALPADS. K-8 schools are not counted as having a middle school music program unless the school has created a charter school for grades 7/8. • The third issue is money. Funding is a huge factor, but no amount of money can solve the first two issues. The createCA website, started in 2016, draws upon data supplied by individual school districts when they submit their CALPADS form. Thus, the reports are only as accurate as the data submitted. Many rural residents rely on subsistence-level incomes; the createCA website reports that 43% of Del Norte students are on FRLP (Free and Reduced Lunch Program), and between 23% and 39% of Humboldt County Students have a similar status. This impacts the ability to fundraise, take students to music events or have a budget that can support a full music program. Some students tell me their home practice space is out in the barn or in the field. Sadly, statewide, California has a 39% enrollment in arts classes. Music enrollment is 14%. By contrast, Ohio has 73% enrollment in the arts. In 2015 the CDE established a Blueprint for Creative Schools with a mandate to gather data and design an action plan.

So, now what? The createCA website has lots of confusing, misleading or inaccurate data. Case in point: Northern Humboldt’s list by course gives only one course: IB music. Change to the tab showing the classes students take says IB music has 9 students and orchestra has 57. No mention of jazz band. The data show the previous year(s), not the current one. Important: It is also dependent on the information received via CALPADS, sent in late September. If the course numbers are not correct, the data is skewed. And accurate data is an important driver for local and statewide funding. What we must do on our end: First, each music course must be reported accurately and in a timely way. The


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course number must be consistent over time. Example: Jazz band is to be listed as #2238, “Instrumental ensemble.” I’ve seen it mis-labeled as #2324, “Instrumental music lessons,” and also as #2300, “band” because there is no separate category for jazz band. That means we have no way to get an accurate count of how many schools have a jazz band, either statewide or locally. Middle schools with music classes that do not meet daily must be counted. We as music teachers must give this information to our administrators and not depend on anyone else to enter the correct course numbers. The full listing of music course numbers and descriptions is on the CDE website. Here is a cheat sheet:

Course #



2300 2305 2308

Band Choir Theory

15+ students Any type Theoretical, academic

2322 2327

Musical theatre General

Interdisciplinary Secondary



14+, string or full


Music lit

History, analysis



Standard and electronic





Instrumental/ sectionals 2-14 students; jazz, pans, world music, etc.

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As rural music teachers we must also brainstorm ways to: • Put credentialed music teachers in schools too small to have a full-time credentialed teacher • Fund supplies, technology, instruments and travel • Give students the opportunity to participate in festivals and attend concerts • Create a statewide forum for discussion to address unique challenges and solutions • Make our voices heard at our county offices of education and our school boards, and the public.

I invite you to attend the Rural Schools session at CASMEC in Fresno this year. Please check the final schedule on the CASMEC website!

Imig Music Building 301 UCB Boulder, CO 80309 303.492.6352 ugradmus@colorado.edu colorado.edu/music

What’s Worked For Me to Get Students to Actively Listen to Music by Richard Lloyd Giddens Jr. Bassist/Musician/Composer/Friend Director of Jazz Studies California State University, Fresno


wish that I could give you a hands down answer on how to get “kids these days” to listen to the music that they are working on or even say that they “love.” But to actually listen to music, and not just a track here and there! To check out albums, to live in an artist’s space for some time. Here are some methods that I have been using with the K-12 after-school program that I teach in, and with the ensembles at Fresno State.

Use the materials that you have already passed out to your students. • Find recordings for songs that you are already playing in class. Start with something simple like 12-bar blues or something modal. • Get your students to start singing the bass motion of the song. Just the roots. • Have them truly hear what is happening with the song. I promise you that after you can achieve this you will have immediate results. • Then ask them to work in groups and have your students record each other playing their parts along with the recording that you have provided them with. For example, you’ll hear trombone 2 playing the trombone 2 part along with the recording and nothing else. Then have another player who recorded them play their part along with the track, let’s say that it is trumpet 4. Then have them listen back to their recordings and critique themselves. This will get them hyper aware as to how they sound, how they fit in with the professional band. It also will get them listening to the band around them deeper. It will instill a sense of ownership with the players of your ensemble. I have done this with my students at Fresno State. The first time I did this was a couple years back when I was adjunct and running the “B” band. We were playing Thad Jones’ arrangement of “All of Me.” I noticed that the horns were having difficulty connecting with the song itself, the melody, harmony, and rhythms. I gave them an assignment to get together with some members of the band, to listen to different recordings of “All of Me,” and learn to sing the root motion of the song. Not the bass part, just the tonal center of each chord change. I shared with them some of my favorite recordings of the song, some with vocals, some without. Just not the Thad

Jones arrangement of the song. I asked them to order some pizza and do it together, make it fun! In our next class period, the majority of the class came back over the weekend with smiles on their faces, even talking a bit of trash and laughing with each other over this activity. I put on Sarah Vaughn’s recording of “All of Me” on the speakers in the classroom, lo and behold, the band could sing the root motion of the song. We took 10 minutes and we used Roman Numerals on the chalkboard and wrote the form of the song down. So now they had a sense of ownership of the song at hand. They also knew the form, and knew what it looked like, which was foreign to some of the players in the band. I counted off the tune and they took a huge step forward. Like night and day! It was crazy, I actually couldn’t believe it! I have been using this method since. I brought it into the K-12 program that I teach at. I had a group of beginners in this particular year for the week long summer program. I started the week long class with teaching the kids to sing the root motion of a 12-bar blues. It didn’t take long; the kids were giggling through the process and by the end of a couple minutes they had it. I taught them a tune by ear. Then another one, always going back to singing before another song was approached. I kid you not, I got more accomplished that week with beginners than I have with adults or advanced students. We learned 10 tunes by ear, all started by singing the root motions of tunes. Now I see them in my advanced K-12 group in the year long program. They now know a ton of tunes, and can learn them quickly! We now work on a transcription a week, one chorus on a tune that we are playing. We have worked on these tunes and selected a chorus of their choice. I have them… • Sing the root motion • Learn the solo by ear • Transcribe it on paper • Sing it while I check their transcription • Then attempt to perform it on their instruments. I don’t really care if they can play it perfectly or not, just that they can hear what is being played; they will get better on their instruments technically as time goes by. Getting them to develop their ear by listening will help them as musicians across the board. Hearing the melody and bass motion = hearing harmony. They won’t even know that they are doing it, until it’s too late. It will help them in orchestra, band, marching


CMEA Magazine

band, and in any improvisational groups that you might offer at school! I used a whole school year to get through the album. Here are some quotes from some of my former students at Fresno State who transcribed solos and rhythm section parts from all songs from My Funny Valentine, Miles Davis in Concert - Miles Davis, Live at Philharmonic Hall - Lincoln Center, February 12th, 1964. “The process helped me to understand phrasing and being intentional. When (George) Coleman would hold a note for several beats, I was able to see how intentional he was about it. And how when I would play in a live setting, playing less notes over longer phrases seemed more natural.” - Kevin Person Jr. Fresno State Graduate 2019 “The process of consistently listening and transcribing Miles was invaluable to us as students wanting to learn the nuances of jazz. There is no better master of the music to listen to, to get a better concept of phrasing and creating an atmosphere. And, listening especially to those live Miles albums in class really opened up our ears to how much more we can be expressive and individual on the standards that we’ve been working on for years.” - Braden O’Shaughnessy Fresno State Graduate 2018 “I felt that transcribing stuff off that album really helped me to look for where content should be placed, rather than just what sort of harmonic content is available. Especially since that album is like a masterclass on solo pacing. Miles had a really great balance between his chromatic playing and blues playing in it, and even though they’re on opposite parts of the style, he made it work by pacing it well. Trying to transcribe and live in that space really made me think about how to pace that material in my own playing and apply it without making it sound clunky or disingenuous.” - Andrew Watkins Fresno State Graduate 2018 I truly believe that if you asked your young musicians in your improvising ensemble to learn a solo by ear, ask them to work in groups, that they will have a ton of fun with it. Start silly! Start with something that THEY love. Please do not force material on them that you once loved. Not unless you sell it to them. Listen to the music with them, then have them love it. When I was studying with my mentor, Charlie Haden, at California Institute of the Arts, we would listen to music for at least an hour before we would play. This was a two-hour class. I didn’t get it at the time but he was playing his favorite music for us to get us inspired to improvise! Charlie would get so into it too! I remember him losing

himself in Charlie Parker, John Adams, Brad Mehldau, Sergei Rachmaninov, Hampton Hawes, and a lot more Charlie Parker! Then we would play, and we sounded so much better, we were lifted! We were ascending!!! Getting us inspired through his love for music made our love for the music that much more meaningful, it was Charlie Haden… Nerding out over the music, the same music that we nerd out on. The “Wheeew’s” and bent knees, and the smiles help us transform into different players for a short time.

“I truly believe that if you asked your young musicians in your improvising ensemble to learn a solo by ear, ask them to work in groups, that they will have a ton of fun with it.” I remember when I was at the New School, the first time that I went to college, I was in a class taught by amazing musician Hal Galper. The class was called Rhythm Section Workshop, where he’d have two rhythm sections side by side playing in two groups. My rhythm sections was Mike Moreno - Guitar, Robert Glasper - Piano, Me - Bass, and E.J. Strickland on Drums. I remember him talking about listening to music before playing and how you could take on the characteristics of the musician that you were listening to. He talked about this time where he was checking out Art Tatum one evening and then he went to a gig. For the first half of the first set he could play and hear as fast as Art Tatum, then he mentioned that after 20 minutes he sounded like “sorry old Hal again.” There is something incredible about this. The best teachers teach through songs, and through listening. When my dear friend Paul Lucckesi was still running the show at Buchanan Educational Center, I used to shadow him to see how he taught. What was his secret? It was the same as Charlie’s, make them love it because you love it. They listened to music at the start of each rehearsal, and then he’d have the students do call and response. It was magic. It is magic. You too have this power. With all my heart I believe that these methods will help with you with your students. If not… Keep trying! I know that I have failed a million times, and I look forward to a million more opportunities.

Winter Issue 2020


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As a NAfME/CMEA member you have the opportunity, right, and responsibility to participate in the elections process. In early 2020 you will be voting twice, as both the NAfME National and Division elections and the CMEA State elections will be decided.

Please follow the links to research the candidates and ballot issues. Both NAfME and CMEA are working hard to present all Elections 2020 information in a timely manner to assist our membership in making voting decisions and are prepared when the emails with the voting links arrive.

Please use the provided links or scan the QR codes below to read about each candidate and their goals for NAfME and CMEA.

A recent study by NAfME has indicated that only a small percentage of membership actually take the time to vote. California, along with the other MEA’s in the Western Division, have higher rates of membership participation than in other areas of the country, but even WE can improve on this!

NAfME National Elections for National PresidentElect and Division Presidents • Email from NAfME with link to online ballot in early January 2020 • Voting Window: January 14-February 12, 2020 • https://nafme.org/about/2020-nafme-elections/ CMEA State Board Elections for President-Elect, Vice President, and Secretary • Email from CMEA with link to online ballot in January 2020 • Voting Window: February 1-February 22, 2020 • http://calmusiced.com/index.php/cmea/cmeaelection-2020

Another new dimension to the elections for 2020 is that candidates will be allowed to campaign. This decision from NAfME will make it even easier for our members to learn more about the candidates. All candidates are aware of the rules and guidelines as set forth by NAfME, and CMEA is following in a similar manner. Be watching social media for more ways to learn about the candidates as the 2020 ELECTIONS approach! Thank you for your interest in the future leadership of NAfME and CMEA, and please participate in the process in early 2020!

Winter Issue 2020


Western Division President-Elect Scott Hedgecock Upon completion of his Bachelor of Arts and California Teaching Credential (Life), Scott Hedgecock began his career as a Music Educator that has spanned nearly four decades and included directing Choral Music ensembles along with teaching voice, piano/keyboard, music theory, musical theatre, and International Baccalaureate Music at the Jr. High/ Middle School and High School levels. He earned his Master of Arts degree in 1995 in Teaching English to Speakers of other Languages (Arts emphasis) in order to better facilitate his work in a multi-cultural and diverse language state. Landing at Fullerton Union High School in 1990, he created an award-winning Choral Music and Vocal Studies Program, served as the Founding Director of the Fullerton Academy of the Arts, and led the Performing Arts Department for twenty-two years. Recently retiring from secondary education in May of 2019, Scott Hedgecock is also a member of the Adjunct Faculty of the Bob Cole Conservatory of Music at California State University, Long Beach, where he is Lecturer and Supervisor in the area of Music Education. Scott Hedgecock has been in Service Leadership to his colleagues and the students of California for over 27 years. As a Past President of the Southern California Vocal Association (SCVA), Scott Hedgecock served as the Chairperson for Choral Festivals, the Vocal Solo Festival, as Vice-President, and as President during the 1998-2000 term. Scott Hedgecock has served NAfME and CMEA for over sixteen years and his service has included leadership as Choral Representative, President-Elect, and President for the former Southern Section, and has served on the CMEA Executive Board as Vice President (two terms), President-Elect, President, and is now the Immediate Past President through the 2020 election cycle. During his tenure in CMEA leadership, Scott Hedgecock has been part of the restructuring of CMEA including two Strategic Plans, and has been part of the continued growth of the Western Division during the “Bringing NAfME West” and “Shortening the Distance” eras, two important areas of focus that he believes should be sustained in the future of the Western Division of NAfME.

What do you see as the major challenges facing music education during your term as president?

The current teacher shortage that is a direct reflection of the respect that the teaching profession receives. We must continue to work at the national, state, and local levels to uphold the teaching profession and help to make it a positive and fruitful career choice. The need to continue to play a strong advocacy role for all of arts education. We cannot stop until all students have equal access to a high quality and relevant instruction in music (and all of the arts) education. This is a lofty and long-game goal, but one that will always keep us pointed in the right direction with our eye on the prize.

What do you see as the major challenges facing NAfME?

NAfME must continue to strive to be relevant to all music educators. Every music educator must feel like they belong and that NAfME has the answers, services, and networking structure that they need in order to be highly successful and fulfilled as professional educators. NAfME must continue to acknowledge the delicate line between a national organization and the highly diverse states and regions within the country. A “one size fits all” approach will not work.

How should our Association respond to these challenges?

NAfME must ensure that they are offering services that a multi-generational community of music educators requires to both thrive and survive. The online resources must be current, wide-ranging, diverse and inclusive, and easy to access. The specific needs of teachers in metropolitan, inner-city, suburban, urban, and rural areas must always be collectively considered. NAfME should focus greater support to the state MEA conferences instead of a national conference. An infusion of NAfME support and resources into the state MEA conferences would draw more local educators, thus increasing membership. A strong NAfME presence through exhibiting and presenting sessions at major music discipline-specific conferences around the nation should be an ongoing focus. NAfME should continue to acknowledge the unique differences among the six divisions while ensuring that all divisions have an equal voice at the table at all times. NAfME should continue to set the high degree of policy and advocacy work that has become a trademark of the organization. Continued greater focus with appropriate support should be given to the work that states are doing in this area as well.


CMEA Magazine

Western Division President-Elect Rhonda Rhodes After receiving a BA degree in Music Education from Utah State University in 1987, Rhonda Rhodes taught instrumental music in the Washington County School District in Southern Utah for 25 years. Concurrently, she taught Woodwind courses and ensembles at Dixie State University in St. George, Utah, as an adjunct and part-time instructor. After one year of directing band and choir programs at Utah State University-Eastern in Price, Utah, she became full-time faculty at Dixie State University where she is currently an Assistant Professor of Woodwinds and Music Education. Dr. Rhodes holds an M.M. in Instrumental Conducting from Northern Arizona University and a D.M.A. in Music Education from Boston University. Specializing in woodwind doubling, Dr. Rhodes plays saxophone, oboe, English horn, clarinet and flute. Dr. Rhodes is an active adjudicator and honor band clinician in Utah. Highly involved in the Utah Music Educators Association (UMEA) throughout her career, she has served as a Region Music Chair, State Solo & Ensemble Festival Scheduler, Jazz Vice-President, Business Manager and UMEA President. She is currently serving as Immediate Past-President through July 2021. Dr. Rhodes is faculty advisor to the Dixie State University Collegiate Chapter of the National Association for Music Education (NAfME).

What do you see as the major challenges facing music education during your term as president?

What do you see as the major challenges facing NAfME?

• Staying relevant in professional development • Growing the membership • Maintaining the great work in advocacy for music education

How should our Association respond to these challenges?

NAfME should work to enhance relations with The National Association of Schools of Music (NASM) and University Music Education Programs across the country. NAfME should encourage the development of programs that prepare music educators to be diverse in their abilities and possess a skill set that will shape future music-making, not focus exclusively on traditional paths. We should actively look for ways to involve more students in music-making processes in schools, be it in traditional bands, choirs, and orchestras or in other ensembles that may encourage entry points in later grades or at mid-year. Rather than try to compete with other specialized national-level professional development traditions (i.e., Midwest, Conn-Selmer Institute, ACDA, and ASTA), we should investigate collaborating with them to provide specific advocacy, curriculum, and research strands at their respective national conferences. I see the planned Fall 2020 NAfME Research Conference as a wonderful event to continue to support on a national level—especially the promotion of collaborative research between elementary and secondary school music teachers and collegiate research partners. I see a need for NAfME to help promote and possibly financially support state MEA conferences. Most teachers will find more value in their membership as they see an increased access to high quality professional development close to home. NAfME does fantastic work in the area of advocacy. It is a challenge to keep that work energized and productive. I feel it is critical to keep our message as non-partisan is possible.

• Music-making opportunities not accessible to all students • Music educators who are not willing to be flexible in the ensembles and genres they promote

Winter Issue 2020



their knowledge, collaborate, reflect, develop, and expand their thinking and creating skills within social constructs. While these areas are challenging, they are also exciting in that we are on the cusp of expanding music into realms that have yet to be created!

What do you see as the major challenges facing CMEA?

Anne Fennell

Anne Fennell is the current Vice President of CMEA, the NAfME Innovations Council Chair, and the K-12 Music Program Manager for San Diego Unified School District in San Diego, CA. She holds a Bachelor’s in Music Education, a Masters in Leadership Studies, Orff-Schulwerk certification Levels: I-II-III and over 90 graduate hours in music and education coursework. Her experiences include 32 years of teaching music composition and steel drum ensembles in grades 9-12, K-8 integrated arts and music through Orff-Schulwerk, and leading both vocal and instrumental ensembles in civic and professional performances as well as national conferences. She is a published author through Pearson Education, the GRAMMY Foundation, The Percussion Marketing Council, as well as Disney’s Little/Baby Einsteins. She presents nationally and internationally, including the national AOSA and NAfME conferences, China music education conferences through the support of NAMM, ISME, and with the OECD in Paris, France. She has received numerous local and national awards, including Outstanding Educator & Classroom Hero, San Diego County, 2017 National Teacher of the Year for Magnet Schools of America, top 10 GRAMMY Music Educator Finalist for 2016, and top 3 Music Educator National Award for Music & Arts in 2015. Anne believes in the power of music education for all students and supporting music educators and programs to be models of educational excellence.

CMEA faces several challenges within the state of California. These challenges include the vast geographic area, addressing the state-wide music teacher shortage, and expanding and including music education to all students in all possible ways. Other challenges that exist include how to maintain and grow an understanding and support within our numerous state-wide music education organizations, and the need for CMEA membership growth.

How should CMEA respond to these challenges?

Challenges are opportunities to grow and learn from situations that provide different perspectives, and with each we will model excellence in music education. As part of a well-rounded education, music should be taught to all students, T(Pre)K through 12th grade and CMEA should continue to advocate this allinclusive message through intentional marketing and professional development. while guiding funding legislation. We can also identify and support needs as we connect every area of the state with models of educational excellence and professional development for allinclusive programs. It is vital to the health and sustainability of the organization for every music educator to find themselves within CMEA. Though great differences in distance, funding, and resources exist, we can find ways to assist and shorten the distances as we continue to build our statewide musical community. California is in need of qualified music educators and as a leader I will strive to work with universities to identify and encourage future students in music education. CMEA can guide and support alignment of programs from school to work and industry, through intentional connections with music education What do you see as the major challenges music classes, as well as providing resources to teach many models of music education. We can also grow our current mentoring program to education will face during your term as a guide new teachers while working collectively to expand programs, CMEA Executive Board member? ideas, and increase membership. Together we can strive to provide During my term as a CMEA Executive Board a quality and rigorous music education that will support lifelong member, I believe music education will see several challenges music making and contribute to the multi-billion dollar creative and opportunities for growth. These opportunities include an arts industries that provide great economic and cultural value to expansion of music education and programs for all K-12 students the state of California. Additionally, in the state of California, there and a shift towards student-centered learning, as well as our are many different music and/or arts education organizations that continued need for music advocacy. We must continue to grow can support each other with positive benefits. These relationships and advocate for music education as we know that it is a human should continue to grow and work together to further develop music right for all students as it defines culture, connects people, expresses throughout the state. It is our collective work that will strengthen ideas, and fosters both creativity and critical thinking. Within this our culture and the future of music education. growth as an art form, we also need to identify the many different ways that students will choose to access and create music, which might expand how music is created. As music education shifts to be all inclusive, professional development programs should provide support to teach music in the many ways that music is made. Student centered and personalized learning is creating a dramatic change nationally and in the state of California. To become aligned with these changes, professional development opportunities should be provided to support a shift in teaching as students co-create 28

CMEA Magazine


Bill Wilkinson

Bill Wilkinson is in his 23rd year of teaching and has taught most of his career in the Hanford Elementary School District as a junior high and elementary band director. For the past nine years he has served as band director at Woodrow Wilson Jr. High School, where he was once a member of the school’s band decades earlier. The Woodrow Wilson Band program has steadily grown in both size and stature under his leadership. Mr. Wilkinson has also taught in the Lemoore and Strathmore Elementary School Districts. In 2006 he was named the Liberty Middle School (Lemoore) Teacher of the Year and was named the 2015 Best Professional by the Hanford Elementary Teachers Association. Throughout his career Mr. Wilkinson has been actively serving with CMEA at both the state and local level. He most recently served as President of CMEA Central Section from 2017-2019. Central Section thrived under Bill’s guidance as the section adhered to its mission empowering educators to inspire students through music education. Bill also served as CASMEC Logistics Coordinator for CMEA from 2012-2017 and was honored with the 2016 CMEA Presidents Award for his efforts. He is a Past President of the Tulare-Kings Music Educators Association where he served from 2007-2009. Bill has actively served with CBDA as well, serving two terms as CBDA’s Vice President from 20052009.

What do you see as the major challenges music education will face during your term as a CMEA Executive Board member?

The coming years could prove to be fiscally and politically tumultuous for music education. The threat of reduced funding through fiscal cuts and negative changes in education policy is ominous and we as music educators will need to be prudently prepared to meet these challenges with leadership that provides focused advocacy, pertinent professional development and the means to band together as a unified voice to continue to advance music education regardless of our economic and political state.

What do you see as the major challenges facing CMEA?

CMEA needs to be poised as a leader in protecting and prospering our greatest assets – our member music educators and the students they impact in the wake of a fiscal shortfall. CMEA must continue to advocate for the rights of all students to have access to a quality, standards-driven music education during the school day taught by qualified credentialed music teachers. The school districts that are doing this are to be lauded for adhering to the law. Unfortunately, there are numerous areas of California where this is not the reality; yes, many school districts offer music ensembles but there is a void in the critical primary grades that needs to be addressed. Music is such a positive and powerful element of a healthy child that we advocate on behalf of those students who are powerless!

How should CMEA respond to these challenges?

I began to study the trumpet in 6th grade at a lowincome school in my hometown of Hanford. I was taught in a gutted-out bus because of a lack of funding for a music room, taught by a teacher with a music minor because a credentialed music teacher was not funded. Even in my naivety I was keen to the fact that I was being cheated. This experience left an indelible mark in my narrative. If it happened in my hometown it is still to this day happening in other communities or worse, music education may be nonexistent. CMEA must be the leader in music education not only at the state level but at the local level as well. We must be seed planters, providing local school districts who are currently lagging in the implementation of music education for all students a taste of what it looks like when students are properly engaged in music; it is a powerful sight to witness. We in turn need to nurture our future music educators. CMEA must continue to provide meaningful opportunities and outreach to our collegiate music education students, investing in our future. In closing, a second grade colleague recently shared an experience in helping a student through a test prompt. The student was asked what was the difference between Dolores Huerta and Cesar Chavez? The student promptly answered that Dolores Huerta was rich because she was able to take piano lessons. A profound statement by a young mind! It is this very statement that needs to prompt CMEA to fight to afford each and every student in California the opportunity to a vibrant education in the arts.

Winter Issue 2020


Vice President

Bruce Lengacher

Bruce Lengacher received his Bachelor of Music Education and a Master of Arts in Education from San Francisco State University. He is in his twentieth year as the Director of Choral Activities at Acalanes High School in Lafayette, CA. Bruce has served as the General / Classroom Music and the Choral Representative for the Bay Section of the California Music Educators Association and is presently the CMEA Bay Section President. He is a member of the American Choral Directors Association and the National Association for Music Education. Bruce has worked with Ragazzi Boys Chorus, the Peninsula Girls Chorus, Chanticleer and Piedmont East Bay Children’s Choirs and studied with Robert Shaw, Rodney Eichenberger, and Byron Macgilvray. He is a composer/arranger, a clinician, and a founding member of the Choral Project. He lives in El Cerrito, California, with his wife, Leslie.

How should CMEA respond to these challenges?

I believe that effective communication is our most powerful tool. It is the cornerstone of advocacy. It should happen on three fronts. First, keeping our stakeholders informed about all the innovative tools and pedagogies that are emerging which will help keep us relevant and up to date with current best practices. Secondly, by being proactive advocates for Arts Education in our schools and communities. Finally, by maintaining our legislative advocacy efforts, which have accomplished so much so far, but there are ongoing issues of accountability, equity, and maintaining the integrity of our profession that must be addressed. Effective and relevant communication is important in addressing our challenges.

What do you see as the major challenges music education will face during your term as a CMEA Executive Board member?

I believe one of our major challenges is to continue to find ways to keep music education relevant and valued. Those of us who teach already know the benefits our students get from studying music. The community does not always understand what we do. Additionally, the way we teach is constantly changing, providing multiple opportunities to deliver our curricula in many innovative ways.

What do you see as the major challenges facing CMEA?

I think making sure that we continue our advocacy and accountability efforts is one of the challenges that we will face. We have accomplished many positive things for music education at the State and Federal levels. New VAPA standards, ESSA, and accessibility legislation are powerful but we cannot see that as a destination. Continuing to move forward and seek out areas where we can be proactive and effective is vital.


CMEA Magazine

Vice President

Chad Zullinger

Chad Zullinger is a professor in the Music Education department at the California State University, East Bay and the Music Technology Representative on the California Music Educators Association Board. He earned his M.M. in Choral Conducting from the University of Delaware and a B.M. in Composition at San Francisco State University. Throughout his career, Mr. Zullinger has worked to create spaces so that students can develop, produce and direct their own learning experiences in the language of music. He has demonstrated success in choral music education, preparing ensembles that have consistently earned Unanimous Superior (and equivalent) ratings at festivals and contests, both regionally and abroad. Most recently, he has presented and engaged with numerous NAfME State organizations around the country about 21st-century innovation and pedagogy for music educators and students. In this capacity, Mr. Zullinger strives to reinforce the idea that skills such as collaboration, creativity, critical thinking, and problem solving are integral components to a 21stcentury music education.

graduating high school classes between 2009-2013. In their findings, 24% of the class of 2013 were enrolled in at least one year of a course in band, choir or orchestra at some point during high school. The racial/ethnic composition of music ensemble students was 58% White, 13% Black or African American, 17% Hispanic or Latino, 4% Asian or Pacific Islander, 8% two or more races, and under 1% American Indian or Alaska Native. Is it possible to shift the discourse in music education from focusing on increasing numbers in our music programs, to being more inclusive of all students? What if we were to imagine possibilities outside of band, orchestra and choir that pique a sense of curiosity of the culturally diverse 21st-century learner?

What do you see as the major challenges facing CMEA?

For all the work our state organization may accomplish through legislative channels, initiatives, and coalitions, based on the research above, how are we disseminating change in the pedagogy itself? There is a national spotlight on access, equity, and diversity in the organization, but how are we addressing the systemic assumptions and paradigms in music education that may inhibit this access and equity for populations that are historically underserved?

What do you see as the major challenges music How should CMEA respond to these challenges? CMEA must continue our work by having the conversation education will face during your term as a with music teacher preparation programs and their coordinators CMEA Executive Board member? throughout the university system, along with our state leadership

In the educational landscape of maker spaces, personalized and project-based learning, and an ever increasingly connected classroom, the opportunity to allow students to explore and make music has never been more attainable. Music teachers are in a position to cultivate our students’ intrinsic motivation towards a personalized definition of music, and to want to communicate in this art form from 21st-century learning spaces that are congruent with pedagogy which connects other interests in their lives. Some of my favorite experiences as a music educator came from providing the opportunity for students to explore possibilities in the language that is unique to music. It has been clear to me for some time that the paradigms under which we’ve been operating are shifting rapidly. How we view music education in the present, as well as into the future, includes essential questions all educators must ask themselves at this critical point in time. In the August 2019 issue of the Journal of Research in Music Education, researchers Kenneth Elpus and Carlos Abril compiled a demographic profile of high school music ensemble students using nationally representative data for U.S.

network of music educator practitioners and carefully examine existing curricula, make refinements as necessary, and design new courses to expand access and equity to include many more 21stcentury learners in our schools. As an executive board member, I will continue to engage with the membership across the state in practical professional development that addresses these challenges that require the attention of the organization. Over the term of my appointment as music technology representative I have traveled to and met with nearly all of our eight CMEA sections throughout the state, to share my experiences and practice of 21st-century teaching and learning. I believe my experience as a music educator, as well as my passion for providing students and colleagues an environment that will ensure their success in a 21st-century world, makes me an ideal candidate for the position of Vice President of the California Music Educators Association executive board. I am humbled to be considered for this position and serve the organization in this capacity.

Winter Issue 2020



Dr. Lisa Crawford

Dr. Crawford teaches music composition, choral arts, songwriting, and rock band for Geffen Academy at UCLA and currently serves at the state level as the California Music Educators Association (CMEA) Creating and Composition Representative. As the founding president of CMEA Southwestern Section (2013-2016), Crawford currently serves on the founding committee of the new California music education conference, Casting a Wider Net. Crawford is dedicated to the ongoing evolution of state-wide focus toward music education programs. Crawford has taught music composition and songwriting in a variety of public, private, K-12 and university environments. She began playing the piano at age 3, composing music at age 6, and teaching piano at age 12. Early career, Dr. Crawford produced music for film and media, developed and promoted new artists, built media and tech companies and startups, and represented composers for film and television. A presenter at state, national, and international conferences, Crawford’s research focuses on creating music, composing, songwriting, foundational learning, and singing. Crawford is published by the International Society of Music Education, CMEA Magazine and as a member of the Canadian research team, Advancing Interdisciplinary Research in Singing (AIRS), is co-author of an upcoming book chapter considering elder memory and singing. Dr. Crawford completed her undergraduate degree in composition at University of Oregon, two masters degrees and California teaching credential at University of the Pacific, and earned her doctorate at University of Southern California.

interest to music learners as well as working with strong teachers in all types of music programs.

What do you see as the major challenges facing CMEA?

Focus on teaching quality must be extremely well-considered. As well, continuing the development of veteran teachers and those in preparation programs to work compositionally with children is another major challenge facing CMEA.

How should CMEA respond to these challenges?

CMEA can design discussions in work groups and teaching environments of all types in order to develop a strong purview for linking conference sessions and workshops to support a range of experience and scope of teachers’ influence.

What do you see as the major challenges music education will face during your term as a CMEA Executive Board member?

We are learning that just because a genre of music is traded for another does not make better music teaching and learning. For example, trading classical music teaching and learning for popular music is not the answer. What may be the answer is music teaching and learning through the lens of creating and composition and working with music of greatest


CMEA Magazine


Laura Smith Schiavo

Laura Smith Schiavo is a violinist who wholeheartedly believes in the power of arts education, and is in her twelfth year of teaching in the San Diego Unified School District. She currently teaches orchestra at Creative Performing Media Arts Magnet Middle School in a booming arts program in the heart of the Clairemont community of San Diego. Throughout her career, Laura has taught orchestra at both the elementary and middle school levels. Laura has a BA in Music from Point Loma Nazarene University with a concentration in Music Education, and an MA in Educational Leadership and Administration from Brandman University. She holds California Single Subject Teaching Credentials in both Music and Foundational Level Mathematics, as well as an Administrative Credential. In 2012, Laura received the Schuchman Award for Excellence in Music Education from SDUSD and also received the CMEA Elementary Music Specialist Award. She has been a teacher leader in music education with the California Arts Project since 2013, continuously working with other arts educators across the state. Laura has also mentored new teachers in her district for the past seven years, and has been part of her district’s mentoring program for new educators working on clearing their credential and improving and reflecting upon their own teaching practice. She has presented at many local conferences, as well as CASMEC. Laura loves advocating for music education and loves working with the changing landscape and curriculums in music education. In 2017, Laura traveled to Washington D.C. to be on a team of teachers working with NAfME and the Library of Congress, and she became a Teaching with Primary Sources Curriculum Writer, and her curriculum can now be found on the NAfME website. She was a member of the 2018 California Department of Education Visual and Performing Arts Standards Advisory Committee as the standards were revised, and are now the adopted California Arts Standards. Laura has served on the executive board of CMEA-SBS for the past eleven years in various roles, including Treasurer, Vice President of Strings, President, and is now their current Past President.

What do you see as the major challenges music education will face during your term as a CMEA Executive Board member?

During my term as a CMEA Executive Board Member, I see the greatest challenge that music education will face is the implementation of our new California Arts Standards and what that now looks like in music classrooms across our state. Teachers will be learning how to unpack the standards and designing new student driven curriculum. We will need to create new professional development, and continue to examine and learn about this philosophical shift in education and what that means for our own students every day. We will need to work on continuing to provide a rigorous, sequential music education for every student in California so they leave their PK-12 education as a musically literate individual, prepared to engage in music and arts for life.

What do you see as the major challenges facing CMEA?

CMEA will be continuing to face the challenges within legislation, and working toward advocacy for music education for all California students by credentialed music educators. I believe these challenges will always be ongoing, such as what is currently going on with AB 1505, which doesn’t require charter schools to hire credentialed music teachers to teach music. Students need highly qualified credentialed music teachers in their classrooms, who have the backgrounds and tools necessary to deliver a world class education. The advocacy piece of CMEA is such critical and vital work to ensure future generations of music educators and students have the support and resources for success.

How should CMEA respond to these challenges?

CMEA will continue responding to these challenges with the mindfulness the Executive Board always has, and putting students at the center of everything they do. CMEA always communicates with transparency and honesty to our constituents so that all may be informed. All challenges require thoughtfulness and wisdom, which is one of the collective great things about this board. No two challenges we face are exactly alike, but many past experiences with similarities help us guide our future. When I was section President, I learned a great deal from all the other Presidents and our Board at our state meetings. Many struggles they had mirrored our own in the Southern Boarder Section, and we could help each other strategize to come up with the best solution. One of the greatest strengths of CMEA is the network of educators our organization has created, where literally you can create friendships with teachers from all over the state to collaborate with and share ideas about teaching.

Winter Issue 2020


CMEA Award Winners Please join us at the CMEA Banquet (held in conjunction with the California All State Music Education Conference— CASMEC) Friday, February 21st in Fresno, CA. The CMEA Awards Gala & Banquet will be held on Friday evening, February 21, 2020. The Cocktail hour begins at 7:00 PM and the Gala starts at 7:30 PM. The Gala will be held in the banquet hall of the Double Tree Hotel. Come enjoy a wonderful evening to honor our state award winners. The Awards Gala sold out last year, so order your tickets early! Tickets are $55 and can be ordered online through our conference registration page at https://casmec. org/register-for-casmec/ You do not need to be registered through CMEA or for the conference to attend the Awards Gala. For more information please contact Trish Adams, cmea@ calmusiced.com. Join us at CASMEC! Register Now!

CMEA Outstanding Administrator Awards

Kari Yist

Marysville Joint Unified School District, Covillaud Elementary School Principal Northern Section

Patt Haro

Colton Joint Unified School District, School Board Member Southeastern Section

CMEA Elementary Music Specialist Award

Kirsten Bersch

Santa Monica-Malibu Unified School District, Itinerant 4th and 5th grade instrumental music at eight elementary schools, Southwestern Section

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CMEA Magazine

CMEA Middle School Music Specialist Award

Rebecca Stewart

Marysville Joint Unified School District, Yuba Gardens Middle School Northern Section

CMEA Pearson/Silver Burdett Choral Educator Award

Alissa Aune

Shasta Union High School District, Enterprise High School in Redding Northern Section

CMEA Jon Swain College/ University Music Educator Award

Daniel Afonso

California State University Stanislaus, Coordinator of Choral and Vocal Studies Bay Section

CMEA Peripole General Music Educator Award

Valerie Vinnard

Long Beach Unified School District, Transitional Kindergarten, 5th Grade General Music, and 4th and 5th Grade Chorus, Southwestern Section

CMEA Paul Shaghoian Jazz Educator Award

Craig Bryant

Albany Unified School District, Albany High School Bay Section

CMEA Music Industry Leadership Award

John Fitzgerald

Remo Inc., Manager, Recreational Music Activities

CMEA Richard L. Levin Orchestra Educator Award

Joni Swenson

Santa Monica-Malibu Unified School District, Santa Monica High School Southwestern Section

CMEA Byron Hoyt/Don Schmeer Band Educator Award

Duane Otani

Poway Unified School District, Rancho Bernardo High School Southern Border Section

CMEA Hall of Fame Award

Stephen Luchs

San Diego Unified School District, Crown Pt. Junior Music Academy and Sequoia Elementary School Southern Border Section

Winter Issue 2020


CMEA State Solo and Ensemble Festival Presented by World Projects Two locations over two weekends! DATE AND LOCATIONS The California Music Educators Association is proud to continue its Annual California State Solo and Ensemble Festival, to be held in two locations this year. The Northern California site is at Sacramento State University and will be held on May 1st and 2nd, 2020. The Southern California site is at Cal Poly Pomona and will be held on May 9th, 2020. All events will take place in the Music Departments of both Universities. PREREQUISITES To be eligible, a soloist or small ensemble must have received a Superior or I rating at a CMEA-sponsored or CMEA-sanctioned* solo and ensemble festival during the previous (2018-2019) or the current (2019-2020) academic years, not including the 2019 CMEA State Festivals. (*Festivals from the following CMEA affiliated groups are considered sanctioned for the CMEA State Solo and Ensemble Festival: SCSBOA, SCVA, MTNA, and other events approved by the CMEA Board.) Participating directors and/or private studio must be members in good standing of CMEA at the time of application and festival performance. For members in good standing of SCVA, SCSBOA, and CCDA, a current waiver of this requirement will apply for the Southern California/APU site. Beginning in 2021, all directors of students applying for the State Solo and Ensemble Festival must be members in good standing of CMEA. PARTICIPANT FEE The participation fee for 2020 State Solo and Ensemble Festival is $75.00 for each soloist and/or $100.00 for each ensemble; a staff accompanist (includes 15 minutes rehearsal time before performance) may also be requested for an additional $50.00. There are no refunds after April 15. PERFORMANCE TIME LIMITS Performance slots are limited to 15 minutes. Music selections must remain in the 15-minute time frame. Performers who exceed the stated time limits will have the performance stopped by the performance room proctor. If a performance must be interrupted, it will have no effect on the judges’ ratings of that performance. (No penalties will be imposed for excessive time) FESTIVAL ADJUDICATION Each solo and ensemble will receive written comments in several categories from two adjudicators. These scores will be averaged for the final rating. Judges will not consult with one another in their rating of any performance.

CATEGORIES AND REQUIREMENTS Solo entries are welcome for standard band and orchestral instruments, voice, and classical guitar. Music performed should be in one of the following categories: Classical (solo and small ensemble when the literature is written for that...duet/trio/etc.); Musical Theatre; Harmony (in the Barbershop style as compared to "a cappella" which although a current fad is mostly pop music oriented); and Vocal Jazz at the Southern California site only. Small ensemble entries are welcome for standard chamber music ensembles, commonly recognized in the Euro-American art music tradition. In the vocal category, small ensembles are limited to a maximum of 16 performers - regardless of part division. No ensemble may be conducted, with the exception of a large percussion ensemble. Recorded backgrounds or accompaniments are not allowed at the CMEA State Solo and Ensemble Festival. All performers, including accompanists, must appear live to participate. Any person may play the accompaniment for any soloist or ensemble provided such accompaniment is purely so and not a featured or solo part that is integral to the actual adjudicated performance. If it is an integral part to the adjudicated performance, a student and not an adult or professional pianist must perform such accompaniment. Each participant needs to bring at least ONE original score for the adjudicators. Friday performances in Sacramento are scheduled from 5:00 PM to 8:00 PM. This is limited to brass, string, and woodwind entries. Saturday performances at both sites are scheduled 9:00 AM to 4:45 PM and will include strings, woodwinds, vocal, brass/percussion, and guitar participants. TO REGISTER: Registration opens March 1, 2020. Go to the CMEA website www.calmusiced.com, click on CMEA Info and News> CMEA State Festivals.

RATINGS All performances will earn a Bronze, Silver, or Gold Level rating. A Command Performance rating is based on both judges awarding a Superior (I) or Gold ratings in all categories and is the highest award given. Individual medals and plaques will be available for purchase on site. 36

CMEA Magazine

February 20-23, 2020 Fresno, CA





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Profile for California Music Educators Association

CMEA Magazine Winter/CASMEC 2020  

Winter Issue 2020

CMEA Magazine Winter/CASMEC 2020  

Winter Issue 2020